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ENGLISH HOUSE GROUNDS 


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Copyright 
by 
MABEL PARSONS 
New York 
1924 


All rights reserved 


THE HAMILTON PRESS, INC. 


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ENGLISH HOUSE GROUNDS 


PHOTOGRAPHIC VIEWS 
Compiled by 


MABEL PARSONS 


Text by 
CLARENCE FOWLER 


Fellow of American Society of Landscape Architects 


EUGENE CEUTEY Editor 


Published by 
MABEL PARSONS 
15 East 40th Street 
New York 


1924 


Digitized by the Internet Archive 
in 2021 with funding from 
University of Illinois Urbana-Champaign 


https://archive.org/details/englishhousegrou0O0pars 


Oa Bis . 


Dedicated 
to the Memory of 
SAMUEL PARSONS 


982583 


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N ACKNOWLEDGMENT of their courteous coopera- 
tion in assembling the material for this work the 
publisher expresses her deep appreciation of the assistance 
rendered by the following: Architectural Record; Miss 
Olivia Bayley; Brackett & Sons; W. N. Brackett; Burton, 
Knowles & Co.; Mrs. Charlotte Cochrane; Constable & 
Maude; Ellis, Son & Bowden; Reginald C. S. Evenett; 
Garrod, Turner & Son; Gudgeon & Sons; Harrods Ltd.; 
House and Garden, London; Sir Algernon Methuen; 
Oswald P. Milne, Architect; Capt. Jack de R. Philip; 
Powell & Co.; H. J. Ronald, Esq.; Mr. and Mrs. Harold 
me sanderson,.chas.ocribner s sons; J; Rt Thornton & Co-; 
Werder rice wx os bal Waterhouse, architect; Wa J. EL. 
Whittall, Esq.; and Mr. and Mrs. R. N. Willett. 





FOREWORD 


The manner in which this book came into being is interesting. It is 
the story of the bringing forth of a thought under the stimulus of con- 
versation, and of the materialization of the idea after its creator had 
passed on. 


One evening a few years ago Samuel Parsons, whose life work had so 
great an effect in moulding the art of landscape architecture in our country, 
and the writer were chatting comfortably at the Century Club with no 
other thought than to pass a pleasant hour together when the conversation 
turned to the subject of the valuable inspiration for present day American 
home owners afforded by the landscape treatment of the grounds about 
so many of the smaller houses in England. Mr. Parsons spoke regretfully 
of the fact that this inspiration was not available to many because these 
charming landscape treatments were seldom published in the magazines 
and there was no book devoted to them, that in fact about the only place 
any number of them could be seen was in the diminutive photographs 
reproduced in the real estate advertisements in Country Life, London. 


Then and there the idea was conceived, to collect a large number of 
photographs of small English house grounds and to publish a careful 
selection of these views chosen for the value of the suggestions to be 
found in them. From that point the talk was animated, the plan of 
publishing such a book rapidly took form. As a result Mr. Parsons and 
the writer entered into correspondence with a large number of home 
owners in England and enlisted the aid of a number of real estate agents 
in the work of locating interesting examples. Owing to the ready and 
effective co-operation of many of these correspondents a considerable 
amount of material was soon in hand. Then came Mr. Parsons’ death. 


For a time nothing more was done, but Mr. Parsons’ daughter, who 
was her father’s associate in practice, was acquainted with his plan for the 
book and knew well his deep interest in it. Somewhat more than a year 
ago she took up the work of preparing the book where her father laid it 
down. In collaboration with Mr. Clarence Fowler who, through long 
and intimate friendship with her father and through his own attainments 
as a landscape architect, was well fitted to carry out the idea, and with the 
writer to look after the editorial preparation of the work, the book was 
brought to completion. 

EUGENE CLUTE. 





ENGLISH HOUSE GROUNDS 


of this volume, felt that the illustrations in 

the books on English landscape design had 
been selected from too elaborate examples to be 
of use to the average person who contemplates 
building a small country home; and it was his 
intention to select photographs from the smaller 
places that in their general plan would contain 
features that might be incorporated in the 
grounds surrounding the medial American house. 
He realized that few of the examples would be 
faultless in all their details, but would illustrate 
some particular point in garden design that during 
his experience as a landscape architect he had 
found applicable to owners of small grounds, and 
on which he wished to lay emphasis. 

The editors have had this point constantly in 
mind when selecting the following illustrations 
and have made use of the voluminous notes which 
Mr. Parsons made during his long life as one of 
the pioneers, in this country, of art out of doors. 
He, like the elder Olmstead, was influenced by 
the English School, which has been the inspiration 
for the design of our great naturalistic parks and 
many of the finest country estates in America. In 
these examples of landscape art we find great 
stretches of lawn and masterful grouping of trees 
and shrubs, giving the composition the finish of 
pictures painted by great artists who were taught 
to observe and to draw carefully. 

These men had unconsciously absorbed the 
principles of a school where formality was so 
cleverly masked that it seemed to become part of 
the natural landscape, this, with their knowledge 
of the requirements and limitations of the vege- 
table kingdom in landscape design, has given a 
symmetry and balance to their compositions that 
has seldom been surpassed. 

These scattered examples of landscape art have 
awakened an interest in better design out of doors 
throughout the country and even the owner of a 
small lot of land realizes the need of better advice 
in planning his grounds than he can obtain from 
the local nurseryman or horticultural expert, who 
has the practical, without the artistic knowledge 
that the home builder requires. It is the hope of 
the editors that the following illustrations may 
be of assistance to the men and women who are 
planning small home grounds, and feel that their 


SS ori PARSONS, who conceived the idea 


problem is too small to call in a landscape archi- 
tect. They also hope it will awaken a desire for 
community planning, and the co-operation of 
several home builders in planning their grounds 
resulting in more harmonious surroundings for 
the whole community, and where each individual 
problem is too small to call in an expert, that 
their combined needs may warrant the advice of 
the landscape architect, the lack of whose services 
is SO apparent in many developments planned by 
promoters who have given little thought to 
making a community of real homes. 

It is also the thought of the editors that land- 
scape architects will find the illustrations useful 
when studying details for the grounds of small 
estates they are designing and a convenient volume 
to use in consultation with clients to illustrate the 
points they wish to emphasize, as types of the 
small examples that are usually scattered through 
several volumes. 

It is interesting to follow the art of garden 
design down through the history of civilization 
and observe the influences of climatic conditions, 
and the customs and manners of the people who 
have developed it to suit their needs. 

The formal garden had its beginning centuries 
ago in Egypt, and we can obtain a fairly accurate 
idea of the gardens which were built several 
thousand years ago from the pictorial descriptions 
that have come down to us. The fame of these 
gardens spread to the neighboring countries. The 
Assyrians, the Persians and the Greeks all had 
their gardens. 

The people of Greece were never great 
gardeners and their designs show the pre- 
dominance of straight lines and geometrical 
curves. Although they had a highly developed 
appreciation of nature, when they brought it into 
their landscapes it was treated in a most formal 
manner. 

The Romans, who derived their art from the 
Greeks, introduced more trees and flowers into 
their garden designs, although they retained the 
formal lines of the Greeks. The Roman hillsides 
required the use of terraces which necessitated 
balustrades and steps. These gardens were often 
wholly decorative and the trees were clipped to 
formal shapes and hedges. When, under the 
Empire, life became more luxurious, the gardens 


ENGLISH HOUSE GROUNDS 


became larger and more elaborate and more 
artificial, and the natural elements were replaced 
by sculpture and architectural ornament. 


With the fall of Rome the art of gardening 
disappeared, with the exception of the cultivation 
of a few herbs and fruit trees by the monks, who 
contributed little to the art of gardening. 


With the Italian Renaissance the Classic forms 
of art were revived, gradually growing into a 
greater freedom, and the villa gardens of Rome 
and Northern Italy were produced. ‘This finally 
degenerated into a type of design where exaggera- 
tion was the keynote, the architectural forms were 
heavy and clumsy and the vegetation was cut into 
grotesque shapes. 

But fortunately the art of garden building had 
crossed the Alps, and Andre le Notre was to 
design the park sat Versaillesaee Pheresons more 
level land, with a background of trees, a new 
style was developed of a breadth and on a scale 
that had never been equalled in Italy, suitable for 
the festivities and ceremonies of the French 
Court. The keynote of his design was to tie his 
garden to the surrounding landscape, and may be 
classed as a happy medium between the extremely 
formal and landscape school. Wherever the 
fashions of the French Court moved it was 
natural that this form of gardening should follow. 
Consequently it was carried to England and its 
influence is seen in our own early American 
gardens in a more simple form. 


In England it developed into extreme formality, 
from which there was a strong reaction to the 
natural style. Many of the best formal gardens, 
as well as those of extreme and grotesque design 
were destroyed with the change of style, and 
much was done in the name of ‘naturalness, that 
was more artificial than the designs that followed 
formal lines. 


Here in the United States, we are developing a 
style that is adapted to our climatic conditions 
and to our modern needs. We are becoming an 
out-of-door people, parks, country clubs and 
gardens are becoming a necessity and must. be 
planned to suit the needs of the people they serve. 


By studying European examples we can improve 
the design of our home surroundings. But when 
we attempt to copy any particular example in its 
entirety, it is usually incongruous and out of place. 
It is not good art to copy an Italian, French or 
English garden, but from all of them we can 
obtain suggestions and adapt them to our needs. 


The grounds about a cottage should be as care- 
fully planned as the grounds that surround the 
more pretentious house. 

The earth is the canvas on which the picture is 
made in living materials of trees and shrubs, and 
the success of the finished composition depends on 
its moulding in relation to the house. ‘The 
English are most proficient in this art and, to the 
casual glance, the grounds about their houses seem 
so natural that it is hard to realize that they are 
the result of careful planning. With them, 
garden making has become an instinct. The 
ground is so carefully moulded, the walks and 
steps are so well placed that they become part of 
the picture, and the planting, which should always 
be considered last in making a garden, is so well 
balanced that the whole design melts into the 
natural surroundings without a discordant note. 

The principal charm of the English garden is 
its merging into its surroundings, it is never 
obtrusive, its several units connect in an _ har- 
monious whole. ‘The kitchen garden is as attrac- 
tive as the garden leading from the house terrace. 
On either side of a bowling green a perennial 
border backed by well-clipped hedges makes a 
perfect garden picture; on the other side of the 
hedges there may be a fruit or vegetable garden, 
but bordering the walks or at the base of a build- 
ing, one finds a border of flowers or small shrubs 
masking the straight lines and to the novice 
giving the appearance of informality, a word that 
the amateur so dearly loves, but seldom under- 
stands. 

The plans of all the best examples of English 
gardens, when connecting with the house, follow 
straight lines. True the gardener often does 
queer things, as in ““The Kitchen Garden at The 
Old Bell House,” Plate VI, where he undoubtedly 
edged the walk with stones that stick up like 
teeth; he also is responsible for many of the yew 
and box bushes that have been trimmed to 
grotesque forms; and he delights in placing horti- 
cultural forms in natural surroundings. To me, a 
tree like the Japanese cut-leaf maple placed on a 
lawn with a naturalistic background is like a man 
ina dinner jacket at a tennis match. If you must 
have plants with multicolored foliage, use them 
in connection with the garden, never in naturalistic 
surroundings, or as single specimens on a lawn 
that would be beautiful if it were not littered with 
horticultural wonders. As Mrs. Van Rensselaer 
says in “Art Out of Doors,” the weeping willow 
is a beautiful tree in the right place, but she has 


ENGLISH HOUSE GROUNDS 


never seen it in the right place. ‘This is true of 
many of the trees and shrubs with strange forms 
and red, yellow or variegated foliage, they are 
beautiful things in themselves, but extremely 
dificult to combine in a landscape composition. 
This is also true of the varicolored evergreens, 
that are so much in vogue for planting about 
suburban cottages. The English gardener loves 
everything that is a plant, and he takes special 
delight in these freaks of nature, which he usually 
places in conspicuous spots where they are out of 
tune with all their surroundings. For the person 
visiting England for the first time, who is inter- 
ested in horticulture, but untrained in landscape 
design these novelties have a strong appeal and he 
is apt to consider them the height of English 
garden art. And on his return home he hastens 
to acquire the bluest spruce or the reddest maple 
that he can find at the local nursery, and to place 
it in the most conspicuous spot on his lawn, where 
all his neighbors can see and enjoy his new 
possession. And like the boy who has started to 
collect postage stamps, his greatest desire is to 
acquire more, and anything that is strange, or that 
a catalogue lists as rare, has the strongest appeal. 
His interest in plants and the great out-of-doors 
has made him a strong advocate of the naturalistic 
school and he proceeds to dot his lawn with these 
deformed members of the vegetable kingdom until 
‘it becomes a forest of wonders and is as unlike a 
naturalistic English landscape as a piece of red- 
and-yellow calico is unlike a fine old piece of 
Spanish brocade. Without realizing it he has 
produced a composition that is artificial in the 
extreme. If, as often happens, he is the director 
of a botanical garden or the commissioner of a 
city park, his attempt at landscape design is of 
incalculable harm to the community in which he 
lives. He should have read some good books on 


landscape design and studied the compositions of 
artists like Corot or the elder Innes, that he might 
have understood the principles that govern all 
good out-of-door art, and then he would have 
been able to discriminate between the good and 
the bad and realize that he needed the advice of 
a trained man to tell him what to buy and how 
to use his purchases. 

When designing home grounds an appreciation 
of architecture and some knowledge of engineer- 
ing are necessary as well as a knowledge of horti- 
culture, and above all the man must have a feeling 
for landscape composition. The landscape archi- 
tect should be the first man on the ground, before 
the house is built, for it is he who can mould the 
soil to fit the architectural lines of the house, 
design the road system and adapt the design to 
the existing trees. His knowledge is broader than 
the architect’s and engineer’s and he should be the 
directing spirit working in collaboration with them. 
When the landscape architect is called in after the 
house and roads have been completed he is in the 
same position as an architect who is asked to 
design a house to fit a foundation that has already 
been built. He finds himself either forced to ask 
his client to spend large sums of money to correct 
mistakes, or to hide the defects with planting 
which makes the design bad art from the start. 
Successful landscape design depends on the ground 
plan where sufficient study has been given to 
moulding the soil to meet required conditions and 
the embellishment of the ground with planting, 
and often with architectural features. The plan 
is conceived in the office on paper, but its suc- 
cessful execution depends on intelligent super- 
vision on the ground and its adaption to existing 
conditions by men who love the work and the 
great out-of-doors, and whose training has been 
along artistic as well as practical lines. 


CLARENCE FOWLER. 





SUBJECT 


iit OLD BELL HOUSE 
ENTRANCE TO THE LonG WALK 
THE WALK To THE STUDIO 


THE Rose GARDEN 


TABLE OF CONTENTS 


THE STEPS IN THE ROCK GARDEN - 


THE House FROM THE RIVER TEME 
THE KITCHEN GARDEN 


GLANNA ESTATE 


Tue HILtsipE GARDEN 


Tue LAKE - - 
THE WATERFALL - 


GRAYSWOOD HILL 
THE TERRACE - 


THe HERBACEOUS BORDER 
STEPS IN THE RocK GARDEN 


HINDHEAD GOLF LINKS 


On THE FAIRWAY 


GWDYR CASTLE 
THE SoutH FRONT 


BUXTED RECTORY 
THE TERRACE - 


BECKFORD HALL 


THe Otp Box WALK - 


BARHAM HALL 


THe GATE IN THE WALL 


THe Grass DRIVE 
WeietisAKE =" & 


NEW PLACE 
Tue House - - 


THE STEPS TO THE ROCK GARDEN 


THE SMALL Rock GARDEN 


feaeeitiLy FOND = 


THE VISTA THROUGH THE GATE 


THe Lonc WALK 


ABBEY HILL 


A VIEW FROM THE TERRACE 


HINDHEAD COURT 


Tue Poot 1n THE Rock GARDEN 


THE Rock GARDEN 


THe HERBACEOUS BORDER 


Tue TERRACE - 


THE WATER GARDEN - 


SANDYBED 


THe TERRACE GARDEN 


THe SoutH FRONT 


Tue DutcH GARDEN - 


THE Rose GARDEN 


PLATE 


Pons 


XII. 


XIII. 


XIII. 
AV: 
XIV. 


oven 
XV. 
XV. 
XVI. 
XVI. 
DOV bs 


XVII. 


DeVoe 
XIX 
XIX 

XX 
XX 


XXI. 
XXII. 
XXII. 

Le 


PAGE 


21 
Zo 
25 
27 
Pa) 
31 


33 
35 
37 


39 
39 
41 


41 


43 


45 


45 
47 
47 


49 
49 
49 
aa! 
51 
38) 


a3 


2) 
ay) 


59 
59 


61 
63 
63 
65 


TABLE OF CONTENTS—Continued 


SUBJECT PLATE PAGE 

JENKYN PLACE 

THE HERBACEOUS BORDER - - - - - - - - - = = = = = = = - XXIV. 67 

Tue Housk FROM THE LAWN - “ ~ - . - - = - = = = = = = 0.4 ae 67 

Tue KircHEN GARDEN -_ - ae 5a = oe SS pee aie . a ae - : = aXe 69 

Tue Service CourT - -  - : Sie ee Ree : a oe ee ee i -) SX Ve 69 

THE TRAINED Fruit TRERS =) - = = = )= . - : - Se =f a = Kv 71 

A. Siwpie Tremiee (<4 25 Pe ae A ee Se ey 8 0 eee eee ee 71 

Tue Ban kor LAVENDER, 2 pue fe ce 95 0 age ke ee XX Vo 73 
PAYNSFIELD 

Tur WALK THROUGH THE HeRBACEOUS BORDER) — 9925 95> = 2 ee ee ee XX V Ly ee 
LOWER SCENE 

THe Housteanp GARDEN = oe) =" 299 = 8 ee ee ee XXVIII. 75 
HUNTERCOMBE PLACE 

Tue LITTLE GARDEN - - - - ~ - - - - - - - - - - - “ SN VILE Fs 
SWALEDALE 

THe SCREENED TENNIS CouRT - - a> et ae - . - = = Gh = = sci 77. 
DRAKESTONE 

THE WALL GARDEN - - : - - - - - . a ee Tis 
BROOK HOUSE 

Tar Souto GARDEN «- . = 9 2 0s =) = “20 0= 2S ee eee ee 79 

Tue HousE AND WooDEN BRIDGE -- - - ; ‘ a ee ee), 79 
A DEVONSHIRE GARDEN 

A Detatt VIEW = © (Sa Se ee a ee 81 
ORDSALL HALL 

THe HERBACEOUS BORDER AND GARDENER’S COTTAGE eo ee Ne ee XXXL 83 
GELLIBRANDS 

THE House FROM-rHE-LENWIS COURT. = 0) = en 20 eee = gees) Ye es Xe 83 

Tue House FROM THE MEADOW -~ - Sie ee 2 a eae mbes et ee Toa) - 8 Eee 85 
DARTINGTON HALL 

Tae Lower-GARDEN = 00-0) = Se a a ee 85 
1 HERGOUER I 

Tre GATE IN THE WALL - = |= = =) = Ge a er ee ee ee ee ee 87 
RHOMIAN TOWYN 

Tue House AND TERRACES’ - = . os - - - - - = z = = 5 X Note 87 
WALMER PLACE 

Tur Lone PERENNIAL BORDER = 9= 95" =) = 330 = 2 9S SS ee XXXV. 89 
NETHER SWELL MANOR 

THE GARDEN SHELTER - = = = - - - - - - - ~ Z = - = XX ce} | 
BRINSOP COURT 

Tore Wart GARDEN “= — = = - - - = - - - = = = = = «= XXXVI. 91 

THE TERRACE FROM THE WATER - - - - - - - - - - = = 2 = “XXOe vate 93 
MOUNT MELVILLE 

An UnvusuaAL CoMBINATION OF ARCHITECTURE AND WATER me me ey Xa 95 

Lan Bringer =) 2 pee oe =n (6 oe Sr, PhO Se | ce an! ae - - - ~ t= XXVIII 95 

THe GARDEN House = = = = §= SS =) =e = = 9 = ee 6.6.4 be 97 
STONE WALL 

Tue Lone WALK THROUGH THE. BORDER GARDEN - - - - = = = = =, = “XXXII 97 
WESTWOOD 


THE LonG Poo. - = = = = = = = = = S = = = = > = = = GES 99 


ENGLISH HOUSE GROUNDS 


PLATES 


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Walter Harper 


The Old Bell House with the River Teme in the foreground, the ledge banks covered with 
flowering shrubs and small trees. 


29 


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The lake at Glanna estate. A good example of natural scenery, which is undoubtedly the result 
of artful planning. 


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ENGLISH HOUSE GROUNDS, PCA TE IX 





The waterfall at Glanna estate. A suggestion for the treatment of a 
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give a feeling of space. Too much planting dwarfs the composition. 





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The terrace at Grayswood Hill, Haslemere, Surrey. An interesting 
treatment of a slight difference in levels, which should always be taken 
advantage of in planning the garden in relation to the house. If the planting 
against the low wall was of dwarf shrubs, the effect might be more pleasing. 





Evergreen trees make a fine background 


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In the herbaceous garden at Grayswood Hill. 
for an herbaceous garden. A garden needs enframement. 


39 


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Steps in the rock garden at Grayswood Hill. An interesting detail for steps in a more 
formal setting near a small house. 





On the Hindhead Golf Links, near Haslemere, Surrey. Why cannot 
we have surroundings like this near our suburban homes? 


41 


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ENGLISH HOUSE GROUNDS, PLATE XII 





The South Front at Gwdyr Castle. An interesting design for beds with low hedges. The vines 
soften the lines of the house, and are much better than shrubs and small trees, even here the 
vines are becoming too rampant. Planting near the house should be restrained, otherwise it 
smothers the architecture. 





Buxted Rectory, Sussex. An interesting detail for a brick balustrade, with some well-placed 
formal evergreens, and a garden house of pleasing proportions. 
43 


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Barham Hall, Suffolk. This grass drive bordered by large trees is a suggestive 
treatment for clearing out undergrowth under large trees. Too much planting often 
detracts from the composition. 





Barham Fall, Suffolk. The introduction of small bodies of water adds to the charm of an 
informal composition. 


47 


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ENGLISH HOUSE GROUNDS, PLATE XV 





New Place, Haslemere, the country home of Sir Algernon and 
Lady Methuen. The house designed by Mr. Charles Voysey is a 
charming specimen of his art. It is of white, roughcast stucco 
with grey-green roof that blends with the background of foliage. 
The well kept lawn and terrace wall add to the picture; the two 
pots of plants detract from the composition. 





The steps that lead to the small rock garden at The small rock garden at New Place designed 
New Place. by Lady Methuen. 


49 


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ENGLISH HOUSE} GROUNDS, PLATE XIX 


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Another view of the rock garden at Hindhead Court, separated 
from the house terrace by a well placed wall. 





A well placed herbaceous border at Hindhead Court. A dark background ts always 
effective for flowers growing in bright sunshine. Note the use of tall growing 
perennials in this border. Spiraea aruncus, bocconia cordata, hardy asters, echinops 
ritro and other tall perennials should be used for this purpose. 


57 


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An interesting treatment of slight differences in levels at Hindhead Court. Vines 
will soften the horizontal lines of the walls. 





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The water garden at Hindhead Court. The random rectangles of pavement in 
the walk form a happy transition from the architectural lines of the pool to the rough 
stone walls that bound the sunken garden. Irregular pavement would have been 


restless. 


59 


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The south front at Sandybed with its well kept gravel paths and its tangled perennial border 
against the house, separated from the moor by trees and hedges, gives one a feeling of seclusion 
that is delightful. 


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A view of the so-called Dutch Garden at Sandybed. This garden, flanked on two sides by 
the charming red house which has been added to from time to time, its lines softened by 
vines and large trees, is suggestive for the treatment of the grounds surrounding a house on 
a small lot. The steps to the terrace might lead from the side walk through the garden to 
the door in the angle of the house. And its upkeep with formal walks would be less than 
that of a lawn with a heterogeneous planting of the usual small evergreens and shrubs that 
is so often seen. 


63 


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ENGLISH HOUSE GROUNDS, PLATE XXIV 





Jenkyn Place, Bentley, Hampshire, the home of Mr. and Mrs. Harold A. Sanderson, 
is a charming old 17th century house surrounded by lawns and gardens. Part of 
the present house was built in 1627, but most of it is of a much earlier date. Jenkyn 
Place is mentioned in Doomsday Book. In the garden there is an old well (called 
Jenkyn ease well), where the pilgrims refreshed themselves on their pilgrimage to 
Canterbury. In this photograph half hidden in trees and hedges with the long 
herbaceous border in the foreground we have a picture of domestic landscape 
architecture at its best. 





Jenkyn Place, from the lawn. This plate shows the house in sharp contrast to the 
preceding plate where architectural lines are softened by well placed planting. 
The yew hedges are said to antedate the present house by more than a century. 


67 





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Jenkyn Place, with the roofs of the service wing in the foreground. A delightful 
place for a homely little kitchen garden. 





In the service court at Jenkyn Place. A well planned courtyard with plenty of open 
spaces for turning. The vines, in pockets of good soil, soften the lines of the house 
and are much better than plantings of small evergreen forest trees that outgrow 
their surroundings in a few years. The tracery of the vines in winter without their 
leaves is far more beautiful to one who loves plants than vulgar blue and yellow 
evergreens when used in senseless masses. 


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One of the old wings at Jenkyn Place with fruit trees trained on the wall. A 
suggestion for fruit in a small garden. 





A simple trellis over a walk at Jenkyn Place. Elaborate patterns in trellises and 
arbors are often unpleasant and obtrusive in a garden. 


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A long grass walk through the garden at Jenkyn Place. The great bank of 
lavender which separates the orchard would be impossible north of Washington but 
in the upper and middle South lavender grows as luxuriously as in England. 





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This photograph of the walk through the herbaceous border at 
Paynsfield, Hassocks, might easily be mistaken for a garden 
in this country. Note that the lawnmower has cut off the plants 
that lean over on the grass and has made a number of bare spaces. 


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Lower scene, Hythe, Kent, a cottage that fits the ground and a most interesting garden plan 
is the result. Oswald P. Milne, Architect. 





Courtesy of House and Garden 


A little garden at Huntercombe Place, Oxon, where planting softens the formal lines. The hedges and 
trees form a background that frame the picture. A garden should never compete with the surrounding 
landscape. Oswald P. Milne, Architect. 


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A well-screened tennis court at Swaledale, Burgess Fill, 
delightful from a pictorial standpoint, but too much shadow for 
areal tennis court. 





Drakestone, Stenchcombe, Gloucestershire. Dry walls like these make admirable wall gardens. 
Oswald P. Milne, Architect. 


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The south garden at Brook House, Colwall, where the plants have masked the formal lines of the 
path and give the effect of an informal mass of foliage and bloom. 





Brook House from the brook. The simple wooden bridge is in perfect harmony with the informal 


landscape. 


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ENGLISH HOUSE GROUNDS, PLATE XXXII 





The herbaceous border and gardener’s cottage at Ordsall Hall. A plain little house 
backed by trees which even in the photograph are half hidden by the English mist. The 
composition would be more restful if the garden houses and hedges were removed from 
the central grass panel. 





Gellibrands, an ell-shaped carly Elizabethan cottage, seen from 
the tennis court. A suggestive informal treatment for the 
grounds of a suburban house. 


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Gellibrands from the meadow. The great oak in the foreground 
enframes the view and gives scale to the picture. 





Dartington Hall in Devonshire—An interesting treatment of levels which can often be 
taken advantage of when planning smaller grounds. A fight of central steps would 
add to the interest of the composition. 





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The Court, Broadway, Worcestershire—A good 
example of a simple door and corner steps, softened 
by foliage. 





Rhomian Towyn, North Wales, another type of house that is well fitted to the ground. The terrace and 
garden are so closely related to the house plan that they have become living rooms out of doors. Oswald 
P. Milne, Architect. 


87 





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Nether Swell Manor. An interesting garden shelter and wall 
detail. E. Guy Dawber, Architect. 





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Courtesy of Charles Scribner’s Sons. 


The dry wall which separates the terrace garden fromthe lawn at Brinsop Court 
is a mass of color in early spring and is a form of gardening that is as successful 
in this country as in England, if the right sort of plants are used. Cerastium 
tomentosum, phlox subulata, arabis alpina, aubrietia in var., gypsophila and 
scores of other plants thrive in a properly built dry wall—‘English Homes,” 
Period I—V ol. I. 


91 








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An unusual combination of architecture and water at Mount Melville, St. Andrews, Fife. Paul 
Waterhouse, Architect. 


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Proper planting in the foreground will add to the charm of this picture at Mount Melville. Paul 
Waterhouse, Architect. 


95 


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ENGLISH HOUSE GROUNDS, PLATE XXXIX 





A garden house at Mount Melville backed by foliage. Dark 
backgrounds are usually desirable for enframing a garden. 
Paul Waterhouse, Architect. 


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Lhe long border at Stonewall Cottage, Langton, Kent. A good example of a combination of the 
utilitarian and ornamental. The lines of the path are very definite; a pavement of stone with 
low growing plants falling on the edges of the walk might soften this. To obtain this effect use 
nepeta mussini, phlox divaricata, iberis sempervirens, gypsophila paniculata with other plants of 


graceful habits. 
97 


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